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«Alan Walker — Alone»

Для тех, кто хочет попеть и подучить английский (текст песни и ниже перевод):

Lost in your mind
I wanna know
Am I loosing my mind
Never let me go

If this night is not forever
At least we are together
I know I’m not alone
I know I’m not alone

Anywhere whenever
Apart but still together
I know I’m not alone
I know I’m not alone
I know I’m not alone
I know I’m not alone

Unconscious mind
I’m wide awake
Wanna feel one last time
Take my pain away

If this night is not forever
At least we are together
I know I’m not alone
I know I’m not alone

Anywhere whenever
Apart but still together
I know I’m not alone
I know I’m not alone
I know I’m not alone
I know I’m not alone

I’m not alone, I’m not alone
I’m not alone, I know I’m not alone
I’m not alone, I’m not alone
I’m not alone, I know I’m not alone

Перевод песни Alan Walker — Alone

Потерялась в твоих мыслях.
Я хочу знать,
Схожу ли я с ума.
Никогда не отпускай меня.

Пусть эта ночь не вечна,
По крайней мере, мы вместе.
Я знаю, что я не одна.
Я знаю, что я не одна.

В любом месте, когда угодно,
Порознь, но все равно вместе.
Я знаю, что я не одна.
Я знаю, что я не одна.
Я знаю, что я не одна.
Я знаю, что я не одна.

Подсознание,
Я проснулась.
Хочу почувствовать в последний раз,
Забери мою боль.

Пусть эта ночь не вечна,
По крайней мере, мы вместе.
Я знаю, что я не одна.
Я знаю, что я не одна.

Я не одна, я не одна,
Я не одна, я знаю, что я не одна,
Я не одна, я не одна,
Я не одна, я знаю, что я не одна.

Источник

Alan Walker & Ava Max — Alone, Part II

Источник

Piano Sheet Music

Amateur Transcriptions Piano/Vocal/Lyrics with Digital Playback

Alan Walker, Ava Max — Alone Part II Sheet Music

Piano Player Ability Rating: Advanced

To print piano sheet music save the direct PDF

How to play this sheet music

Alone Part II score requires arduous effort. I will add an easier one if this page will be popular.
Alone Part II is composed in a binary verse-chorus form. Both sections are repeated before a short coda.
This song follows the traditional model for the pop form. Its rhythmic basis is sustained throughout, so the LH’s principal duty will be to provide a rock-steady footing.

Piano Playing Method

Accuracy in articulation are essential for playing Alone Part II piano sheet music.
Your tone should be fresh and energetic.

The articulation in this piece is tricky because it alternates between legato and staccato.
Accent every note, varying the accents each time you play. Once played lightly and up to speed, the ornament should flow naturally.
It’s worth trying out this technique for the entire song.

Take note of the piano and forte markings in order to make your piano sound more noticeable or prominent and to emphasize the Alan Walker‘s composition.
Notice the crescendo/decresendo at the bars 8, 12, 15 and so on. Take it seriously, and only begin your diminuendo by gradually playing the passage more softly.

Among the hardest facets of piano playing is controlling a lightness of attack, and when coupled with playing at a faster speed, a reliable warm-hearted leggiero touch must rank as among the most prized piano skills.

Right Hand

Listen to the actual track Alone Part II as you begin to learn the arrangement, in order to balance parts in left and right hands.

In playing any piano transcription of a song, the aim is to give the impression of a singer (Ava Max in the RH) that is being accompanied by a sensitive pianist (the LH). Imagine a duet between a band and a singer, so color the two hands differently. Coordinating the parts may take some time to organise convincingly.

The RH here plays a melody (topline) and simultaneously provides a harmony (accompaniment). First separate the melody from the accompaniment in the RH. Try singing the melody as you play, so you can mentally separate the topline from the accompaniment in the RH.

Practise slowly at first, giving a distinct emphasis on the topline while playing the accompaniment as gently and as evenly as possible. To begin with, play the melody line by itself to develop a confident mastery over the weaker 4th and 5th fingers. Once the RH top line has settled, add the second-voice accompaniment. Because the second voice is played by the stronger fingers in the RH, it can be difficult to keep the right balance of power. Your thumb should do little more than brush the lower note in a small circular movement.

Look, for example, at the bar 12 where the topline is missing. Do not play these chords with equal weight as parts with lyrics, this is likely to obscure the melody. Treat them as quiet accompaniment bars, play pianissimo.

Don’t forget to bring dynamic colour to your performance by quickly moving from piano to forte; play every new part with different volume:

The Opening phrase (bars 1-4) is sprightly and energetic, requiring careful articulation. The RH acciaccaturas should be short and snappy, with the harmony sounding on the beat.
The Verses (bars 5-12) demand a different playing technique. Use slightly flatter fingers and imagine that you are trying to pull the sound from the keys rather than striking at them. Articulate tenderly. Guard against any urge to over-project and over-state. Think in long lines, not short phrases. Note the dynamic contrasts. Notice that from the bar 13 and so on, the Ava’s part is only a few notes from the passage: play her part loud and instrumental part quiet.
Save a full weight and depth of tone for the Choruses (bars 21-24). It is a short phrase but the hook is here. Aim to sculpt the chorus so that it emerges as a thing of real beauty, shapely, nuanced and expressive. Think about the destination of the lyric phrase. Keep the phrases as long as possible. Pedal carefully in this section.
At the long Bridge that starts at the bar 45, let the music flourish from the very beginning.
Bar 53 brings a harmonically strange and hauntingly beautiful transition from bridge to the next coda. Release the sound and relax, and make a natural ritardando
The Coda (bar 57 to the end) requires a full tone and a slight diminuendo over the final two bars; place the last chord with a soft, emotional sound and a sensitive touch. Shape the bars in order to make a beautiful, yet brief, pianissimo.

Left Hand

After getting familiar with the RH, focus on the LH. The LH is generally soft throughout. This is one of those pieces where the bulk of the practising will be devoted to an accompaniment.

The patterns in the LH can become repetitive if not coloured imaginatively and played with rhythmic stamina.
The patters use a broken chord or arpeggiated accompaniment built from triads, and they can be learned easily by memorising them as a chord.

Avoid tension in the wrist and hand (a danger with repeated patterns) by releasing the muscles swiftly.
Practise the LH alone here to ensure a rich and mellow bass.
While it might seem counterintuitive to use the left thumb to reach down for single bass notes, it ensures a smooth, decisive downward progression. Playing trills in the LH is often best achieved using the thumb.

Pedal

Judicious use of the right pedal can do much to enhance the music.

More Piano Sheet Music from Alan Walker

Источник

Ноты для фортепиано алан волкер алон

Alan Walker. «Alone»: ноты для фортепиано

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Alan Walker — Alone